We sat down for a quick chat with Kit Loyd about his Edinburgh Fringe show, Frenzy.
- Frenzy is full of wild physicality—how do you channel that chaos into something that still feels sharp and purposeful?
The wild physical moments are tightly choreographed. I’ve worked with a brilliant movement director called Lucy Cullingford and obviously Trygve Wakenshaw. They’ve made sure the manic ideas have direction and purpose.
I think it’s about having chaotic bonkers moments juxtaposed with stillness and calm. We have made a conscious effort never to allow the show to be on one level.
- What’s been the most surprising or rewarding part of crafting your first full solo hour for the Fringe?
I’ve grown to love the process. At first I wanted to achieve the final product straight away, I wanted immediate perfection. Which obviously isn’t possible…
It was only when I changed my mindset to enjoying the process of crafting and honing, that’s when the show really took off. It’s been a two year project. We’ve gone through many drafts and versions of the show, some ideas have been terrible some ideas have worked.
George my director describes the process as chopping away at a tree.
- You’ve been compared to everything from Mr Bean to Roadrunner—who or what actually inspires your style?
Goodbear were a big influence on me. I may even be their biggest fan. It’s that theatrical physical comedy which I love so much. Those guys would use their wonderful acting talent to make great sketches. They would also always have incredible sound and lighting design, which I think is really important. That’s why I asked their director George Chilcott if he would ever direct my show and was over the moon when he agreed.
Steen Raskopolous is also a big influence- his solo sketch style. Bo Burnhan – in the way he uses lots of pre recorded sounds. Elf Lyons- her magnificent theatrical comedy.
And of course Trygve Wakenshaw the grandmaster physical comedy clown. I remember seeing his show at Soho Theatre and back in 2020 and thinking “that’s exactly what I want to do”.
- Physical comedy can speak volumes without words—what story are you trying to tell beneath the gags and madness?
I guess its kind of about my sobriety and how I sort of miss raving. I haven’t been in a club since turning sober nearly 2 years ago, I don’t quite trust myself back in those enviroments.
I have a very frantic head and raving was a great way of shutting it off. Now I don’t go out I’ve had to look to other methods of quietening the noise.
But really it’s just a fun sketch show!
- How did working with Trygve Wakenshaw and George Chilcott shape the show’s tone and rhythm?
Like I said Goodbear were a huge inspiration – I was bloody buzzing when George told me he wanted to work together. We’re usually entirely on the same page about everything. George is incredibly strong at storytelling and structure and he helped shape my nonsense into a coherent piece. We also have a very similar sense of humour. He’s absolutely brilliant and has become a dear friend of mine.
Trygve is a genius. I flew out to prague three times to do workshops on the show with him. Obviousy Trygve is very helpful with anything physical/mime but he also helped with the playful nature of the piece and the clowning elements. We could seed the smallest most mundane idea and then escalate it into something mad and magical and I think that is what Trygve does better than anyone on the planet. Love him!
- You’re hitting Edinburgh with a full-on, high-energy hour—what’s your post-show recovery plan: deep stretch, deep-fried Mars bar, or deep denial?
A deep stretch sounds nice. Maybe a deepdive analysis into why I do comedy.